Essay On A Windy Day At The Seaside ...

Young family enjoying a day at the seaside with the young parents standing arm in arm overlooking the ocean with a young toddler riding on the husbands shoulders, view from behind

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Now, generations later, the little town of Seaside Heights has received so much attention that it’s a wonder they haven’t transplanted The Brooklyn Bridge to Toms River just so tourists would be more comfortable crossing into the land of sea, sun and sin.

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Secrets are kept for only a limited length of time, recipes are broadcast, and new scientific discoveries are the subject of announcements by the Académie des Sciences. Since adaptation, if we are to believe Aurenche and Bost, is an exact science, they will one day have to explain to us what criteria, what system and what internal and mysterious geometry of the masterpiece they are adapting govern the way they cut, add, multiply, divide and 'rectify' it. I have posited the idea that these 'equivalences' are no more than timid devices aimed at getting round difficulties — using the soundtrack to solve problems with the images and resorting to a form of tabula rasa so that nothing is left on the screen except sophisticated framing, complicated lighting and 'sleek' photography, all of them elements that keep the Tradition of Quality alive. It is now time to start examining the full range of films for which Aurenche and Bost wrote the dialogue and adaptation, and to identify the persistence of certain themes which may explain, without justifying it, the two scriptwriters' constant unfaithfulness to the works they use as a 'pretext' and an 'opportunity'.

True, I have to admit that some strong feelings and a good dose of prejudice have gone into my deliberately pessimistic examination of a certain tendency in French cinema. I am told that without the celebrated 'school of psychological realism' we would never have been graced with Le Journal d'un cure de campagne, Le Carrosse d'or, Orphée, Casque d'or or Tati's Les Vacances de Monsieur Hulot (Monsieur Hulot's Holiday). But the auteurs who wanted to educate audiences should realise that they may have diverted them from their original course into the more subtle channels of psychology. They have shepherded them into the first form celebrated by Marcel Jouhandeau in his book, Ma classe de sixième. But you cannot go on repeating a year for ever! (Cahiers du cinema no. 31, January 1954)

The trouble is that, if you keep on repeating to audiences that they identify with the central characters of films, they will end up believing you; and the day they realise that the roly-poly old cuckold whose misadventures are supposed to prompt sympathy (a little) and laughter (a lot) is not, as they had thought, a cousin or a next-door neighbour, but one of them, that the abject family portrayed is their family, and the religion ridiculed is their religion, they may well feel ungrateful towards a cinema that made such efforts to show them life as it is seen from a fourth-floor fiat in Saint-Germain-des-Prés.

La Symphonie pastorale. Characters added to the film: Piette, Jacques's fiancée, and Casteran, Piette's father. Characters cut out: the minister's three children. There is no mention in the film of what becomes of Jacques after Gertrude 's death. In the book, he takes holy orders. The 'Symphonie pastorale operation': 1) Gide himself writes an adaptation of his novel; 2) His adaptation is regarded as `unfilmable '; 3) Aurenche and Delannoy in turn write an adaptation; 4) Gide turns it down; 5) Everyone is reconciled when Bost joins the team.

2011.a windy day at the Seaside.

When the man who was lined up to produce Le Journal d’un curé de campagne expressed surprise that a character called Dr Delbende had been left out of the adapted version, Aurenche (who was supposed to direct) replied: 'In ten years' time, a script might be able to retain a character who dies halfway through the film, but as far as I'm concerned I don't feel I could do that.' Three years later, Bresson kept the character of Dr Delbende and allowed him to die halfway through the film.

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In today’s hyper competitive hospitality market where there is little to no difference in overall services offered, small charges like resort fees and baggage fees make a big impact in customer satisfaction.

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